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Alag: He Is Different.... He Is Alone... (2006)

An odd orphan boy is forced to use his secret super powers when his new classmates bully him. A scientist abducts him to use the boy's powers for his own evil gains.

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Cast

Credited cast:
...
Tejas H. Rastogi
...
Purva P. Rana (as Diya Mirza)
...
Hemant Rastogi
Jayant Kripalani ...
Pushkar Rana
...
Singh
...
Police Inspector
...
Gayetri P. Rana (as Beena)
...
Dr. Richard Dyer
...
Dyer's assistant
Rest of cast listed alphabetically:
...
Special Appearance (Song)
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Special Appearance (Song)
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Special Appearance (Song)
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Special Appearance (Song)
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Special Appearance (Song)
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Prof. Gupta
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Storyline

Widower Hemant Rastogi lives in scenic Mahabaleshwar, seemingly alone. One night he has a heart attack and passes away. When the Police search his residence, they find a young man in the basement of the house, a man whose eyes are very sensitive to any kind of light, whose name is Tejas, the only son of Hemant, who has been sheltered, and has never stepped out. The Police ask Purva Rana of P.R. Institute, that rehabilitates young men who have taken to crime, to look after Tejas, whose life has been influenced by books that his dad provided for him. Tejas proves that he has power of mind over matter, and thus proves to be a misfit in the institute, resulting in the near fatal accident of a security guard, Singh, and the death of a fellow student, John. But Tejas redeems himself in the eyes of Purva's wealthy dad, Pushkar, when he is able to wake his wife, Gayetri Rana from a coma-like condition. It looks like Tejas has wormed his way into the Rana household, but this is short lived as ... Written by rAjOo (gunwanti@hotmail.com)

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Drama | Sci-Fi | Thriller

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16 June 2006 (India)  »

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Remake of Powder (1995) See more »

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User Reviews

 
See only the lowly rated Hindi movies
17 July 2006 | by (United States) – See all my reviews

What I am struck by the tremendous amount of creativity among Indians in all spheres - whether in Music or Movies or in Technology but apparently the Indian masses are stuck in their Masala traditions. Even the Indian movie critics - who are supposed to promote the experimental or innovative efforts at movie making - seem to judge movies by their marketability rather than genuineness of spirit. It is indeed heartening to find that young movie makers are undeterred by these and continue to create art close to their soul rather than based on public approval. I am an unabashed admirer of Indian creativity in this context.

Take the case of movies like 'Alag' or 'Benares' or 'Encounter, the Killing'. What is notable about these movies is that every frame of these movies is pulsating with action, the makers of these movies grip your attention from the word go and keep you enthralled for the entire duration of the movies and yet Indian movie goers as well as critics give them lukewarm reception. On the other movies like 'Fanaa', 'Kabhi Kushi Kabhi Gham' or 'Ham Aapke Hain Kyon' take such a long time to make a point that one can go for a game of tennis while watching the movie and come back and you would not missed any of the action except for a few songs. Such movies receive raves from the Box-Office as well as accolades from critics as well - as if what matters most in the final analysis is that every movie shall be a chick flick.

It just goes to prove a point that market success and genuine creativity in most cases reside on different planets. But I am thankful India is producing as many Orson Welles or Prakash Dwivedis as they are producing Karan Johars and Kunal Kohlis.


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